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Of all the arrangements this is my favorite...

And with these I conclude Alan's Disney Golden Era

I hope he means "at least 5 more"… John Williams and the Boston Pops Orchestra - Complete Recordings The Berlin Concert A Gathering of Friends Violin Concerto The Fabelmans

Mine has arrived. They increased the limited edition to 4500 units for this one. Vienna was limited to 1000 units.

ASM: You've got something between your teeth. JW: Is it cookie? ASM: Yes. JW: Oh... ASM: You said you ate all my cookies during Christmas and that you now eat no other brand. JW: Well..., I was at a gathering of friends, and let's just say Yo-Yo isn't only good at playing the cello... ASM: Really? You've been having a cookie affair with that... cellist? JW: Yo-Yo is many things, but what he's not is man you can say no-no to.

The latest episode of Maurizio's great podcast is a fascinating talk about the behind the scenes work involved in adapting Williams' score to the Live To Projection concert format, and is a great listen from start to end. https://thelegacyofjohnwilliams.com/2022/04/28/superman-in-concert-podcast-special-pt2/ Speaking of the end, Mike drops the information in the thread title as they are signing off. Speculate away!

Personally I want my videogame characters to look like this.

Personally you want your female video game characters to be sex objects. Others don't, including women, who have long been a minority group among video gamers because they have in games often been… reduced to sex objects. But of course, those "woke" radicals don't matter, as long as the "true fans" can get off. (Essentially, whenever someone uses "woke" as a criticism for something not being the way they grew up with it, it just underlines that they don't care about the reasons why something is changed, but rather blame those who've been objectified/under/misrepresented for not wanting to go on being objectified/under/misrepresented)

Utterly sublime... easily my favourite of all the ASM arrangements. JW has outdone himself. And something feels more natural about the mix/recording on this one; ASM is better integrated with the orchestra. I found her presence a little overpowering on the Across the Stars album.

Spider-Man: No Way Home and this Dr. Strange scene make me think we've reached another pinnacle of CGI. I feel like they're finally able (willing?) to be more creative with CGI rather than just using it because they have to out of necessity. It's not just another monster fight...what if the monster was invisible? But it was deforming objects that were visible? And then we reveal the monster holding the object, and cut off one of its limbs. And then we'll throw that object at the camera and saw it in half around our protagonist. Impressive stuff.

This is one scene, and knowing Raimi's films. He always has moments to let the score really shine. Also hoping for the end credits to be scored by Elfman and not a song. I always think it's a shame when the first 2 minutes of the end credits is a song. This is the moment to really let a composer shine with the theme(s) they have written. Look at The Avengers, Thor: The Dark World and the first Dr. Strange. Great musical moments to really show a theme.

Thanks The Tafta Hindi one (the fast paced one) is not part of the 6 part suite but I can put them up here since they aren't released officially anywhere yet. Most are just 15 secs etc, one of them is a backing to a vocal so no point having it up here too, but there are three others I can share The Opening Fanfare which is the 15 second one, then two parts to an old mythological philosopher in the Middle East called Juhha. One sec, I will put them up one by one since I am so clumsy with computers x Arab FIFA Opening Ceremonies - Fanfare 01 Arab FIFA Opening Ceremonies Fanfare.mp3 Arab FIFA Opening Ceremonies - Juhha's Intro 02 Juhha's Intro 1.mp3 Arab FIFA Opening Ceremonies - Juhha pt. 2 1084265330_03JuhhaPart21.mp3 So in this 5 it goes 1. Fanfare, 2. Juhha's Intro, 3. Juhha Part 2, 4. Migrant Birds, 5. Call to Champions Thank you for even asking xox

https://thelegacyofjohnwilliams.com/2022/04/28/superman-in-concert-podcast-special-pt2/

Pretty dumb there wasn't a New York Times review of the NYC premiere of the new concerto by America's the world's most popular composer.

I've just read the liner notes for the Quartet Records release of the TV Movie "Heidi" from 1968. John Takis mentions a TV project Williams was involved in that same year which I've never heard of. Does anyone know about this (apparently the 2nd) episode of Season 2 of "CBS Playhouse"? Since the teleplay was apparently 90 minutes long I'm kind of hoping Williams might have written a mini film score for it and that this obscurity might see the light of day sometime. I'm guessing if something as obscure as the music for the unaired pilot "The Ghostbreaker" gets a release then there's hope for a possible substantial unknown late 60s TV Movie type score from the master. Any thoughts?

I shed a tear or two... I cannot wait to own this album; the fact that my copy will have been signed by Anne Sophie-Mutter is a plus. Heck, I cannot wait to get the Blu-Ray come August 19.

But you're not the only one playing these games, and they are not made just for you. Somebody else might say (to give an exaggerated example) that they like a game where they can have Black slaves and torture them. But that wouldn't necessarily make it acceptable to actually produce and release such a game. And I'm not saying sexualised characters cannot have a place in a video game. There are games where they fit, and even when they aren't "required", they might be a fun touch and don't necessarily be entirely inappropriate. The lines are fluent, but they're obviously there, and even if you perceive them differently than others, you can at least acknowledge that others have a reason for their views. Yet you don't even complain about the decision to regard those lines so much as you are simply refusing to accept that some people may have valid objections. My point was more detailed than that. And I would classify Trek as woke, probably more than any other classic TV franchise. https://www.merriam-webster.com/dictionary/woke

I'm all for sexy and non-sexy characters in video games. Just like how there are sexy and non-sexy people in real life.

More clips.

What character model triggered me? I was responding to your comments that you want games to keep over-sexualised characters, and that you don't care for people who feel triggered by them (e.g. potential female gamers who still encounter a strong tendency for objectified female sex model "characters" in games) and just blame "woke game journos". In other words: You're not saying there's not a place for games that to not objectify women, but developers should still be allowed to exploit them, and nobody should complain that a majority of female video game characters are primarily sex objects. (Why? Because that's what you like, and you want to stay it that way.) Right now there is a push to make fewer female video game characters sex objects in a traditional geek way that young male gamers can lust over and young female gamers can't connect to (in the best case - or worse, learn that this is what men expect them to be like). Only if they're *your* kind of idealised. Because you keep ranting about how games should not be allowed to have characters that are idealised by those who have different idealised - like a majority of female gamers (and an at least increasing number of male gamers). Try questioning the "traditional geek way" from a female gamer's point of view. I've recently been watching the STTNG Blu-ray extras, and one thing I'm always amazed by is how highly Roddenberry is held in regard by Black actors simply for having a black woman in a starship crew interact normally with white men (as repeatedly emphasised by LeVar Burton and Whoopie Goldberg), because it taught them that something like this is imaginable when everything else on TV was still teaching them that it wasn't. Representation (here's another trigger word) can make a huge difference to the lives of those represented. But you're arguing against it because you don't like how it impacts your traditional geek ways.

Guess what? That's your opinion. And what I posted was my opinon. And neither of them are wrong! And neither of them are right! But this, you probably are right on.

amazing score

Yeah that will be interesting to see. I also expect this as Mastercut Vinyl (377€ is the price of the editions on sale...so I will happily pass...). And then probably as CD and digital?

Previously exclusive to Mondo vinyl (released 2017), apart from the suite that was on the 2007 score album 1. Theme From Hot Fuzz (3:38) 2. Village Idiots (4:54) 3. Hotels, and Killers (3:22) 4. Murder, Murder, Murder (2:04) 5. Neighbourhood Watch (2:00) 6. The Hot Fuzz Suite – Hotter And Fuzzier (23:11) https://www.qobuz.com/us-en/album/hot-fuzz-original-motion-picture-score-david-arnold/yz79hijg4je6a https://us.7digital.com/artist/david-arnold/release/hot-fuzz-original-motion-picture-score-20765078 https://tidal.com/browse/album/221955352 https://music.apple.com/us/album/hot-fuzz-original-motion-picture-score/1615480838 https://music.youtube.com/playlist?list=OLAK5uy_kDitH4CBaNdkg64Y7WKJZz0YWgyq1e-Uk https://open.spotify.com/album/4K8mjGqGWheh23e0D6dstW?si=HOsMpp_6Qfid4-jMOlpJoQ

To be fair, the score is no entirely monothematic, as there is a recurring motif for Ethan Hawke's character, which has a couple of moments to shine on album: 0:56 on The Village, and the following Village Scales introduce the softer aparition of the theme And then a cue like What Suit? develops the theme at the start until makes it bigger at 0:57 And it reoccurs in some more cues but yeah, apart from this, I don't think I found any other recurring theme. That's not entirely bad as the main theme is really well developed and quite memorable, but it does make the album feel a bit longer, and perhaps a bit of trimming is requiered to better enjoy it, but it's quite a great and fun score as it is.

wow, thanks for posting that. I also think it's the best Mutter arrangement so far and almost equals the full orchestral version. I wish he'd kept the full ESB Finale somewhere in there though because now it sounds more like a totally new theme "inspired" by the ESB one. Marion's theme retains most of the structure of the movie version. Maybe it's another indication he never liked the original one

It’s ok KM, the women with asymmetrical haircuts can’t actually hurt you.

I only write at the piano and then I orchestrate it into finale until the orchestral recording in a huge studio. I mostly write for 90+ piece orchestra so it always has to be in a large studio like Air studios in London with the Philharmonia Orchestra or at Katara Opera House with the Qatar Philharmonic x

Backed too, it can't hurt to have more Jerry Goldsmith music

Thanks for reminding us. Contributed now, of course.

I heard it was ghostwritten by Shirley Walker!

So do I. There's a damn good reason why SUPERMAN is my second favourite JW score.

Moon Knight 1x05 Asylum Now that's more like it! Wonderful episode that explains very nicely a lot of what's going on. I dunno if the writers were inspired by Mr Robot or not but it sure felt like it!

This passage from 2:24 to the end of "A Walk in the Woods and Bird's Flight". There's just so much emotion and imagery in this 20 second snippet; a plaintive oboe echoed in longing with the clarinet, chilly tremolo strings evoking the falling snow, and a vaguely ominous pedaled note in the bass signalling the danger always lurking around the corner in this world. It's an exquisite moment in a score absolutely brimming with them.

Now this 5th and second last episode of Moon Knight followed straight the pattern of the second last episode of Wanda Vision, everything gets explained by a walk through the heros personal history including childhood. But here I found it much more convincing than in Wanda Vision to be honest.

That's the thing.... we have literally no idea what Holt's style for this will be. The discussion currently is merely around the fact that someone without a track record of doing large-scale orchestral music is composing in the SW universe. What if this were Holt's big break into that style, like BTTF was for Silvestri. And if it does have a markedly different approach, should the focus not be on how it serves the show and its concept, and not how well it emulates Williams?

In a surprise turn of events, Crumbs is gifted Thor's unused copy of the expanded soundtrack, only to discover the second disc is missing because it was "too complete".

His wife apparently was surprised, too. When she heard the theme the first time she looked at him and said 'Alan, we're rich!!'

This Kickstarter went live yesterday, and in just over 24 hours it is already almost 59% funded! The bottom tier to get a lossless digital single of the complete 8 minute score is only £3 (less than $4 USD), and every note of this music is PURE GOLD, so even casual Goldsmith fans have little reason not to go for this: https://www.kickstarter.com/projects/129592672/the-bar-mitzvah-of-major-orlovsky-jerry-goldsmith There's a sample of the music in Leigh's video, but here's a suite The Goldsmith Odyssey made of all eight minutes of music, ripped from the episode audio (so it has dialogue and sound effects, sorry -- that's the point of Leigh producing a brand new recording!) Oh...and if there are any "CD only" folks here, I did talk Leigh into committing to a CD edition stretch goal, should at least four General Electric Theater scores be funded (either through stretch goals or sequel campaigns) in this ongoing project to record early Goldsmith TV scores. (Obviously a CD edition doesn't make sense if the CD is only 8 minutes long, but once you approach half an hour of music it makes perfect sense.) Yavar

Getting back on track for a moment, I absolutely love this! (hope it hasn't been shared before):

I could do without John Goldfarb, Please Come Home!

Bull.

that interstellar did not get the oscar was the biggest joke ever!

Ok. Just that it says so in the liner notes I mentioned plus Williams is mentioned in the IMDB page. This screenshot is from Billboard Magazine December 7th 1968

Like all things, I think you have to see a movie through a lens of the time of when it was released. If anyone went into Superman The Movie expecting to see Avengers Endgame, I can see that person getting disappointed. But - and I don’t mean this to be rude - that would be a naive opinion. Superman is what it is - a big budget and serious attempt (in spite of Lex & Otis’ goofy relationship!) of a flying man in blue tights with a heart of gold and a kick ass score - and it carries the mark of its time with it.

"John, do you wanna score a fifth Indiana Jones movie?" "Only if you guarantee that JJ Abrams absolutely will not be involved with the production in no capacity whatsoever"

What about the renowned Concertgebouw Orchestra from the Netherlands? Together with the Wiener and Berliner Philharmonic, often considered as one of the best orchestra's in the world. Would love to see Williams once play in the Concertgebouw in Amsterdam...

Thanks to @Falstaft for alerting me to this one in his (fantastic) article on JW action scoring.

Yes - 100% this. He simply writes for orchestra like big bands. The chord complexity you can certainly analyze from a romantic theory standpoint, but it is much stronger of an argument to simply call him a jazz pianist and composer. That being said, I would put him near the top in jazz pianists/theorists, but for a jazz pianist you are mostly using chords to drive interest/complexity/mood/color/shape and less concerned about the individual notes. He's collected hundreds of progressions and modulations over his years that communicate certain moods/emotions and he just uses them at will like a language when writing. One of the other things you will notice about jazz is that they tend to set up a type of dissonance like it's a standard part of that key "world" so to speak. They will then selectively increase or decrease dissonance for effect. You see applied everywhere in E.T. where he essentially writes the whole thing in lydian and keeps the raised 4th and 7th the whole score writing 7th or 9th chords constantly, but pulls back into straight triads in minor keys for the antagonist theme (to great effect!) and increases dissonance and stacked chords to their breaking point leading into big moments. This constant slight dissonance of 7ths/9th allows him to go in two directions and subtlety move to a different mood quickly with lots of options where other composers may struggle to get there as tastefully. It's probably why he likes the ambiguity of open 5ths in melodies so much. He's intelligent enough to go back and analyze it and write all this out in a book, but I wouldn't be surprised if that was actually a very difficult exercise for him to do since romantic harmony is not likely to be where his mind is when writing. Now, the core question is if he uses orchestration selectively to increase/decrease dissonance. I would say he's gotten better at this as his career progressed and he finesses this a lot more after the Boston Pops years. He speaks of those years as being highly educational from an orchestration stand point. After mastering harmony, melody, and tone centers to create emotions, this has certainly been an area where I see a lot more sophistication the more he writes - especially with his doubling's. I can also usually tell when he's passed something off to be orchestrated by someone else. We can't neglect his ears and taste for balance during recording sessions as well. Recordings done by different conductors or even his own scores recorded by someone else can sound like completely different pieces with less important notes popping out of the texture.